3D Information Technologies in Cultural Heritage Preservation and Popularisation

This Special Issue of the journal Applied Sciences presents recent advances and developments in the use of digital 3D technologies to protect and preserve cultural heritage. While most of the articles focus on aspects of 3D scanning, modeling, and presenting in VR of cultural heritage objects from buildings to small artifacts and clothing, part of the issue is devoted to 3D sound utilization in the cultural heritage field

Comedy: An Annotated Bibliography of Theory and Criticism

From Plato to Umber-to Eco comedy has been a subject of perennial interest. In the 1980s there have even been two attempts, one scholarly and one fictional, to recreate the "lost" book on comedy by Plato's pupil Aristotle: by Richard Janko in Aristotle on Comedy: Towards a Reconstruction of Poetics II, which also returns us to the ancient "Tractatus Coislinianus"; and by Eco in The Name of the Rose, where murder fails to prevent disclosure of the treatise (see items 216 and 274 below). So the time seemed propitious to gather and annotate the best that has been published about comedy in a bibliography of larger scope than the one by E. H. Mikhail, Comedy and Tragedy: A Bibliography of Critical Studies (Troy: Whitston, 1972), which included only about four hundred items. This book is intended to provide a better guide through the maze of comic theory and criticism than has hitherto existed

Debussy and the Fragment.

The dissertation identifies and studies fragmentary structures---structures that give the impression of incompletion or interruption---in the music of Claude Debussy. Although fragments---which play a decisive role in nineteenth- and twentieth-century aethetics---have been discussed extensively in literature and the visual arts, relatively little critical attention was paid to them by musicologists until Daverio and Rosen, in the 1990s, investigated the romantic musical fragment. The dissertation traces the history of the literary fragment from the late middle ages through the nineteenth century. With this history as background, it places Debussy\u27s fragmentary musical structures in relation to those of composers like Schumann and Chopin. Debussy\u27s fragmentary structures are shown to be of four types: some are incomplete in their beginnings (e.g., the songs Green and Spleen ), some in their endings (the prelude Canope ); some mirror the fragmentary structure of literary works on which they are modeled (Prelude a L\u27Apres-midi d\u27un faune and the Chansons de Bilitis); some reflect the nineteenth-century fascination with the sketch (D\u27un cahier d\u27esquisses ); some interrupt their progress with quotation or autoquotation ( La serenade interrompue ). On the basis of these investigations, Debussy is shown to be the heir of the nineteenth-century fragment tradition; in this respect he shared the interests of his many acquaintances among the French Symbolist poets

Graduate catalog, University of Missouri--Columbia, 2001-2003

208 page

Stravinsky

This book is an attempt at a new interpretation of Stravinsky’s thoughts about music and art, an interpretation made in dialogue with the philosophy of new music and 19th-century artistic ideas. It is also a proposal for a new method of analysing the construction of his musical masterpieces (for example a proposal of new formal sound-units: partons with perceptual invariance), a method in-spired by research into cognitive psychology. Furthermore, in the analysis of Stravinsky’s music, the author emphasises its connection with the Eastern and Western traditions of European culture and links with Plato’s triad of values

General Undergraduate Catalog, 1981-1982

Marshall University Undergraduate Course Catalog for the 1981-1982 academic year.https://mds.marshall.edu/catalog_1980-1989/1001/thumbnail.jp

1997-1999, University of Memphis bulletin

University of Memphis bulletin containing the undergraduate catalog for 1997-1999.https://digitalcommons.memphis.edu/speccoll-ua-pub-bulletins/1444/thumbnail.jp